Producing with Pro Tools First | Jason Allen | Skillshare

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Producing with Pro Tools First

teacher avatar Jason Allen, PhD, Ableton Certified Trainer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

39 Lessons (2h 36m)
    • 1. Welcome & Overview

    • 2. What is Pro Tools First?

    • 3. Advantages of Pro Tools First

    • 4. Project Maximums

    • 5. Downloading

    • 6. Installation

    • 7. Session Templates

    • 8. Creating A New Session

    • 9. Organizing Your Session

    • 10. Importing Audio Files

    • 11. Adding MIDI Instrument

    • 12. Preset Patches

    • 13. Creating Multi Synth

    • 14. Panning And Effects

    • 15. Saving And Recalling

    • 16. 16 NavigationinProToolsFirst

    • 17. Editing Tools

    • 18. Optimizing Screen Real Estate

    • 19. Time Stretching Audio

    • 20. Elastic Audio

    • 21. Arranging Audio Files

    • 22. Adding Markers

    • 23. Setting Up To Record

    • 24. Recording Audio Into Pro Tools

    • 25. Editing Our Recording

    • 26. Setting Up MIDI To Record

    • 27. Recording MIDI

    • 28. Creating Drum Tracks

    • 29. Volume Controls

    • 30. Panning Controls

    • 31. EQ Controls

    • 32. Other Effects

    • 33. Automation

    • 34. The Final Mix

    • 35. Export Types

    • 36. Bounce Settings

    • 37. Offline Bouncing

    • 38. Mp3 Conversion

    • 39. SkillshareFinalLectureV2

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About This Class

For years I've been teaching Music Production in the college classroom. These classes I'm making for Skillshare use the same syllabus I've used in my college classes for years, at a fraction of the cost. I believe anyone can learn Music Production - and cost shouldn't be a barrier.

Recently I was named as a semi-finalist for the Grammy Foundation's Music Educator of the Year award because of my in-person university classes. Now I'm taking those classes to Skillshare in an online format in order to reach more students and give them the joy of Music Theory.

In this class, we will focus on the new Pro Tools First software. This is a new version of Pro Tools that is absolutely free. It mimics traditional versions of Pro Tools, so if you learn Pro Tools First, you will be very comfortable working on Pro Tools or Pro Tools HD in a studio. Pro Tools First is a full-featured program, but it isn't without its limitations. I'll walk you through what those are, some ways you can deal with them, and how to use the program to produce and/or record your music.

In this class, we will cover:

  • Differences between Pro Tools First, Pro Tools, and Pro Tools HD
  • Advantages of Pro Tools First
  • Limitations of Pro Tools First
  • Downloading and Installing Pro Tools First for FREE
  • Setting up a session from a template
  • Creating a new session from scratch
  • Organizing a session
  • Importing audio tracks
  • Adding MIDI tracks
  • Using the XPand!2
  • Creating a multi-timberal synth
  • Saving and recalling your sound design patches
  • Navigation in Pro Tools First
  • Pro Tools Editing tools
  • Time Stretching audio to fit your tempo
  • Elastic audio
  • Adding markers to your session
  • Recording audio
  • Recording setup
  • Editing recordings
  • Setting up MIDI
  • Recording MIDI
  • Mixing
  • Panning, EQ, and other effects
  • Automation
  • Mixing tips
  • Exporting your track
  • Bounce settings
  • Mp3 Conversion
  • SoundCloud and uploading elsewhere
  • ...and much, much more!

Dr. Jason Allen is an Ableton Certified Trainer and a Ph.D. in Music Composition and master of Electronic Sounds. His music has been heard internationally in film, radio, video games, and industrial sound, as well as the concert hall and theater. His 2015 album, Aniscorcia, reaching the CMJ Top200 Charts and radio broadcasts nationwide. In 2014 he was named a semi-finalist for the Grammy Music Educator Award.

He currently is a professor at Augsburg University and the CEO of Slam Academy in Minneapolis.

Praise for classes by Dr. Jason Allen:

  • "Without a doubt the best explanation and east of use that one can get. It leaves you enough room to go explore. The classes go by quickly, so you can be on your way to being proficient. What are you waiting for!"

  • "Amazing - Seriously Loved It! I took all his courses and have to say I'm so happy! Learned loads! Jason is an awesome teacher!"

  • "I have never had any formal training in music at all. Trying to learn all the notes and how everything translated was a serious challenge. After going through this class, Dr. J has totally brought down the barriers. The content was very useful and was easy to grasp for me."

  • "I like these courses because you can get up and running quickly without having to spend hours of time wading through TMI (too much information!). Jason hits the high points but shows you what you need to know. Thanks!"

  • "I've watched many other videos on scales and chords before, however, this one has been the best. I now understand minor scales and chords and even how to analyze songs. It really gave me the confidence to start producing music because I feel like I have some structure and guidelines to follow. AWESOME!"

  • "Clear and Informative - Jason has a clear uncluttered style (with the important dashes of humor) of presentation that is focused on the important key aspects of this course. Recommended for those starting out!"

  • "Dr. Allen does it again with his music theory series. This course really opened up everything I learned from the 1st section, and now I understand more about the composition side of things for music. I highly highly recommend this course to anyone!!! Really opened my eyes to many things I wasn't aware of."

  • "The Best Teacher Ever, who makes you understand the ins & outs of Music Theory by all means without giving what you don't want to know."

Meet Your Teacher

Teacher Profile Image

Jason Allen

PhD, Ableton Certified Trainer


J. Anthony Allen has worn the hats of composer, producer, songwriter, engineer, sound designer, DJ, remix artist, multi-media artist, performer, inventor, and entrepreneur. Allen is a versatile creator whose diverse project experience ranges from works written for the Minnesota Orchestra to pieces developed for film, TV, and radio. An innovator in the field of electronic performance, Allen performs on a set of “glove” controllers, which he has designed, built, and programmed by himself. When he’s not working as a solo artist, Allen is a serial collaborator. His primary collaborative vehicle is the group Ballet Mech, for which Allen is one of three producers.

In 2014, Allen was a semi-finalist for the Grammy Foundation’s Music Educator of the Year.

... See full profile

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1. Welcome & Overview: way waken create many tracks at once if we want. So this says, create one new mono audio track in ticks. Here's what that means. How many new tracks do we want to make? UH, let's make three new stereo. The difference with mono and stereo is, uh, mono means. So what I want to do here is a multi Tambor role. Since Tambor, in terms of synthesis means sound, it literally means color. So it's like the different sounds that we have. So we're gonna make a since that has several different sounds. So here's the default way. Could leave that enter. We could change it. Let's change it. Click on this and let's Dio it's just make oh really fun since here. So let's Dio it's pretty clean. It's pretty good. I'm pretty happy with that. Okay, now that we've done that, we've got our drum loop to be totally in time. Uh, let's go, Teoh editing our audio here and start to create a little bit of an arrangement. So now, in doing that, I because I pasted this one to be long generated, like third bar against that. Okay, we still got soloed, so let's just hear that everyone welcome Teoh this class on pro tools First, I've been using pro tools for a long time, and I'm really excited to get my hands on this new version that they have. That's totally free. Uh, anyone can get their hands on it. There's no, you know, financial barrier like there always has been for pro tools. So it's really exciting. There are some barriers. There are some things you can't do. I mean, there has to be right, and they still have their expensive versions. Um, but I think you'll find that throughout this course, I kind of walk you through what they are on, how to make some music in dealing with them. They're not that bad thistles. A full programme. This isn't a demo or anything like that. It's It's a full, legit program, and you could make some music with it, like we will do in this class. We're gonna produce a track during this class as we go through. We'll also look at you know your recording set up your MIDI set up how to use the expand to , which is a sort of a synthesizer built into pro tools. First, we'll talk about mixing using effects, accused automation on. Then finally, your final bounce settings. How to get it down to an MP three that you can, uh, host online and do whatever you want with and a full quality audio track that you can, you know, upload the iTunes or Spotify or whatever you want to do. Um, we're gonna do all of that in this class. Uh, it's fun. Class had a really good time making it. So I hope you decide to jump in and, uh, take advantage of this great free version of pro tools. 2. What is Pro Tools First?: Okay, So what is pro tools? First, let's just dive in. So the history of pro tools is actually really fascinating and has some kind of big ups and downs. I'm not gonna bore you with the entire history of this software program, because what would be more boring than talking about history of a piece of software? But I do want to tell you about one aspect of it, because it relates to where this came from. Pro Tools itself has been around for a cash a long time. I don't even know. I would say the early nineties, maybe even late eighties. Sometime in the late nineties, there were all of a sudden a lot of other software programs coming out, and the leader in the industry at that point was not pro tools. Pro Tools was the leader and then kind of out of nowhere. This other program came along, and it became a leader in the industry briefly, and that program is called Paris. Paris is long gun, Um, but pro tools, the way pro tools dug out from that is they released in the late nineties, something called pro Tools free. It was a free version of pro tools. It was limited in many ways. It only let you do so. Money tracks, Um, but otherwise it was quite handy to get people hooked on pro tools, right? So, um, with the leverage they got from all these new users of using pro tools free, they eventually took away pro tools free. That went away, and they started working more on their high end products, which is primarily what they've had until now. Um, just last year, let's say sometime in 2016. I don't remember exactly when they released this pro tools first, which in many ways is a A callback to pro tools free, um, pro tools. First is a free version of pro tools. Um, it's totally free. No tricks, Um, absolutely free. Ah, it is limited. I mean, it's not as good as the big, you know, full protocols HD or anything like that. And I'll talk about, ah, the limitations of it in just a minute. But it's got more features than pro tools free did. Um, I remember using pro tools for you when I was little, and it's quite flexible. It can let you do a lot of stuff you could produce, tracks Justin pro tools free and be and not have to do anything else. It's quite impressive, actually what they've done here, so you should get your hands on it and makes a music with it. And that's what we're gonna do in this class. So that's kind of where it comes from, you know, really, At the end of the day, they're trying to get you hooked on pro tools so that you use and by the bigger versions of pro tools. But but as a piece of software by itself, it's pretty robust. Ah, I am impressed with it, so I'm gonna be using it throughout this class. I won't be using any other version of pro tools. I'm Onley using pro tools first. Ah, in this class. So with that, let's move on. And, ah, let's talk about what are some of those advantages and disadvantages of using this application versus um, the full version of pro tools and versus some of the competing audio software options out there. So it's do that in a new video 3. Advantages of Pro Tools First: Okay, here we are on, um, pro tools website is a avid website, actually, but have it is the parent company of pro tools. So we have, Ah, three different kinds of pro tools. Right now, we have pro tools. First, we have regular old pro tools, and we have pro tools. H d Okay, So here they had this nice comparison chart, Um, that I want to walk you through just so that we can look at what are the differences? Um, OK, so this says, you know, ideal for singer songwriters, um, versus pros and the other two columns available. Ah, this is available for free. Um, regular Pote pro tools can be a monthly subscription and or an annual or you can purchase to own it. And same things portals HD don't care about those. Okay, here's what I really want to focus on. What can you do and what can you not do? Why is it free? Right? There's got to be some catch, and there is, um, but it's not bad, actually. Okay. Maximum simultaneous audio tracks. So that is like each one of these is a track, right? How many different things could I have going at once and in. Okay, so and then we've got three different kinds 48 96 1 92 What that means is, are, um I believe that's our sampling rate, is what they're telling us here. So we'll talk about sampling rates later. But here's what you need to know. For any kind of general audio production. 48 samples per second. A sampling rate of 48 is plenty fine. Um, 96 is better, but probably not even curable. 1 92 You totally don't need, um, so in that in our version of pro tools, we could have 16 tracks going at once at 48 16 at 96. Now I think that means basically a total of 16 not a total of 32. I think, um, I'm pretty sure that's what it's telling us that we could have 16 tracks at a time, right? And regular pro tools. We have 128 um, and in pro tools. HD. We came 256. Um, so that's probably our biggest limiting factor here is that we could only have 16 tracks, but, you know, I think we can bust stuff, weaken, bounce stuff. We can do some things that will maximize how many tracks we have so that we never really need more than 16. And if so, I would say, based on this, if I'm going to be trying to record an orchestra than this pro tools first isn't gonna cut it. If I'm gonna be trying to record myself playing guitar with some people playing drums and singing and some other stuff, 16 is going to be plenty good. You'll have tracks left over. Or if you're trying to produce Elektronik music, 16 might make it tight. But you can always do it. You can find a way. Um, okay, maximum inputs. Think about inputs as how many things could you record at the same time? Different things, like if I had, ah, 10 people in a room with microphones? Can I record all of them at once? I would need 10 inputs to do that, so but with pro tools first, I could only do four. That means that doesn't mean that I can't record all 10 of those things. It just means I can Onley record 10 of or four of them at once. I could have four recording tracks going at once and pro tools. You can do 32. And in HD, you can dio 1 92 with an Asterix. We don't care. Um, audio recording, Max. Simultaneous tracks. So that's four. So what is the difference between this in this? This, I guess, is how Maney tracks you can record at once. This is how many inputs you can have, which, from almost every situation that we will encounter in this class, are they gonna be the same. Um, I suppose you could have four inputs, but allow eight tracks. That would be weird, but for for just about everything, these are gonna be the same. And you can see there the same everywhere. Um, while they're different here. Um, so we can record four tracks at once on four different inputs at once. Maximum instruments. These are gonna be many instruments. Ah, we can have up to 16. That'll be plenty For our purposes And the others, you could have 512 ah midi tracks. We could have 16 5 12 on the others ox tracks. We can have 16. We'll talk about ox tracks later buses unlimited on all three versions. That's great. Ah, and video. We cannot do video, so we cannot export to video. Um, so if you're planning on exporting to video that you can't do that in this version, if you're going to If you're thinking about, like, writing the music for a soundtrack, that doesn't mean you can't do it. It just means that there will be one other step to put it together. We'll talk about that in the future. Okay, so those are your main things. The thing I would think about, the biggest thing here is the number of tracks could only have 16 tracks here. Um, if you know for sure you're gonna need more tracks than 16 you're gonna need to use a different, um, program. Then this pro tools first, it's just not gonna work, but, um, we can always do things like like bouncing where Let's say we have these four were really happy with them. They sound great. We can squash these down to one track, and then that would free up three more tracks, right? And then once we have that good weaken, bounce all these down to one track and then we can add more tracks. That's not something that you love to do because you can't go backwards from that. But, um, it's something that you can do to maximize more tracks if you need them. Okay, so those air kind of the limitations that come with pro tools first. Ah, they're not that bad. I mean, 16 tracks is still a lot to work with, depending on what you're doing. Okay, so from here, let's talk about how to get this thing, because getting this program up and running was more slightly more complicated than your average program. So, um, luckily for you, when I was doing it, I recorded myself doing it. So let's go through how that works next. 4. Project Maximums: Now there's one more thing about using pro tools first. That ah, is is a drag. Um, as of right now, there doesn't seem to be a way around this. But what they have done is they're limiting how maney projects you can be working on at a time. So if I go to create new project Ah, you know, these are templates. We're gonna talk about those in a minute, but right now, it says right here, one of three projects so I could make a new one. Let's do it. Um, let's call this one project to and I can create it now. That's fine. No. Okay, now, let's make another one create a new project. It's called this three create. So now I have three projects. Right? Um, if I go to create another project and call it Project four, it's going to tell me you have used a maximum number of projects. Now, the reason that this exists is because this is a cloud products. So we're storing these projects on the cloud. I believe you can see my account here. You can switch accounts and get more, um, three more projects. So that would be one way you could do it to sign out. Sign back in is another account, and you could have more and more projects. These air my three projects that exist now. So what you have to do with this pro tools first? Ah, thing is, work on something until it's done. Bounce it, get it all good. And then I guess you just have to delete it. Um, I haven't. I've just spent searching around and I haven't found a way around this yet other than to create multiple accounts. Um, it looks like there's some talk of pro tools releasing a paid upgrade were for a few bucks . You can get 10 or more bucks, you can get 20 different projects, but right now you're limited to just three. So this is a major bummer. More so even than the 16 tracks. Um, but we can still work with it. We could still learn pro tools, and we can still be working on stuff. Just means we can't, you know, be working on a whole albums worth of material at a time without ah finishing something. We've got to work on something, finish it, move onto the next thing And then there's no going back, I guess, Um, unless we confined somewhere that lets us switch this to a local saving and not sitting on the cloud, but just saving it locally, which I'm sure they locked down and they're not gonna let us do so. I think that is the biggest limitation of this pro tools first, but we can still learn pro tools with it. Ah, and we could still make some cool stuff. So let's press out. 5. Downloading: Okay, so we're gonna get started by going Teoh, Uh, avid dot com. And we're gonna follow the link approach rules first. Now it's gonna make you create ah, log in and for an avid account. So And you have to do this. I hate creating log ins and web sites just to download something, but, um is part of the deal with approaches. First is that you have to put in Ah, this information. So when you name a country and email address, you're gonna have to make a password. And this is important that you remember this email password combination cause you're gonna need it a few times in this process, we're gonna hit that I'm not a robot button and then create an account. Okay, Next, you're gonna need to verify your email address. You're gonna have to go to your email, find an email from avid and, ah, click on a link that give you so you have to click this. Yes. Use this email address first, and then give it a minute or two and go to your email. Okay. So I clicked on the link that was in my email. Now I got to go through this little survey there. They're not making this really quick. So quick. A little survey. It's gonna fill out some of the questions. What is your role? I'm a teacher. I'm a student composer. What else am I? I'm an electronic musician of a producer. I suppose I do some web video stuff because that's what I'm doing right now. What am I going to use this four education primarily. Just get through that hit next. OK, now this I'll lock thing. This is their copy protection stuff. Um, pro tools is kind of famous for this. It used to be a lot uglier than it is now. So you need that password now? This password is the same one you just created, so it's going to create a new I lock account. You're pretty much never gonna have to deal with this. I lock account after we're done installing, but you're gonna have to keep track of it now. So this is your avid log in name to use that same password to create this I lock account thing. Okay, now we have everything set up. Now we just need to download, so we're gonna hit this download button and download the software. Then we have to install it, and the installer has one extra step that from a normal installation. Because of that, I lock stuff. So let's go to a new video and walked through the installation. 6. Installation: okay up next. We need to install. So Ah, after I click on what downloaded, I get this window and I want to double click on that installing install pro tools first. Stop P K G. Now I'm on a Mac. Ah, if you're on a PC, I don't even know if this exists for PC and pretty sure it does. Um, if the pro tools first does, um, it should be really similar to what I'm doing. Um, but this is gonna be specific to a Mac, but you should be able to follow along on a PC if you are. So when I hit install pro tools. It has to do this verifying and style approaches. Forced package. Um, this took a oddly long time to do some of the zipper head a little bit while this sits and thinks. But if yours looks like it gets stuck, just waited out. Um, because it will get done. But for me, it took, like, a good, like, 10 minutes for this to get through its verification thing. Okay, so then it gives us this message, and all this really says is ah. Hey, I'm gonna install some stuff. Is that cool, and you're going to say yes. Cool. So here we got hit. Continue and say Yes, we've read the license agreement and then install. We're gonna have to put in our user password for our computer. This is not our avid password. That's our computer password. You should probably read that license agreement. I never read. Um, Who does? Who really reads those things? I mean, seriously, um, but anyway, okay, so now we're installing writing files, running package scripts again. I don't know why this installer is being really slow. Maybe it's just my computer today, but, um, if yours is going really slow, waited out cause it'll finish. But it's looking to me like it's stuck, but it's not. Installation is done. Let's say okay. And then you can say yes to this. Should I move the installer to the trash? We don't need that anymore. All right, Now we're gonna close all of that, and now we're gonna launch pro tools. We still have a couple more steps to do. I'm gonna go to my applications folder pro tools first. I'm gonna launch that now, The first time I run this, I'm gonna have to put in my password again and again. That's my computer password. Okay, so now it's installing this pace stuff. This is more copy protection stuff. It's the same. I lock stuff now. It's called Pace Before it was called. I lock. It's the same stuff. Um, so it's gonna install this, and then I'm gonna have to authenticate it to say I am who I say I am. Pro tools. Just really doesn't want you to copy this stuff. Ah, and steal it from them. So they have all these extra steps we got to go through, Um, because they're nervous about that. Okay, so now we need that user name and password. This is not our users are computers name? This is that one we did on the avid website and the I lock. Ah, prompt. So we're gonna put in. Ah, what we created for those. So now, um, we should have authenticated. Okay, So last thing is, we're going to get this playback engine prompt. You're gonna want to set this to be probably built in output. I have a separate audio interface, and it's this mo to one. If you don't have any hardware connected to your computer that specifically for audio like it would be an audio interface. It will show up in that list if you have something. If you're just connected. If you're just plugging headphones into your computer, then you want that built in output. And now we're all set up. So I just selected ah, template for it to lunch, and it's loading that up. And when Then we should be into pro tools. Give me this one weird error that keeps coming up. I'm going to say no to this. It says, Do we want to create a log file for what's going on? I don't care about that. So we're in Great, right? So Ah, all of that password logging in that we just had to dio you should never have to do that again. Um, I have only had to do with this once, and after that, I don't think will ever have to do it again. So ah, And also, every time you launch pro tools after this, it should launch much faster. Um, it just had to do initial round of set up stuff. Okay, so now we're in 7. Session Templates: All right, let's dive in eso first. Let's take a look at these templates sessions that they have and eh? So what I want to do is going to go to file, create new. Now we go to this window. Now, remember what I said earlier. This is kind of their cloud storage window. So this is my account, and I have three projects possible. Right now, I have three that exists, so I'm not gonna able to make something new. So I'm gonna go to this open tab. I'm going to get rid of these. And since I was just goofing around, get rid of all of these, Okay? Now, I'm gonna go to the create tab. I'm gonna call this, um, first track, and we've got all these templates here. So what these templates are, is it They're going to set you up with a number of tracks and also many instruments on those tracks. So let's look at look at this jazz one. So I'm going to create a jazz track. So what we get is in this case, all the templates are different, but in this case, I'm getting one track that has drum sounds on it and a big drum clip. Right? So I've got a MIDI clip here and we'll talk about what that means in a minute. Um, but I've got a lute playing here. That's Trump's second play. We've got a nice little swing groove going. So that's the loop. Now I have a bass track and this is a MIDI track so I can play it on my MIDI keyboard. Is it just me playing? Got a piano track? I got an organ track. It's fun. And then I've got some audio tracks that's gonna be for me to record on. So I've got four audio track set up. We've got a click track set up If I want it. Master Reverb Return and Delay returned. Ah, we'll talk about those return tracks. Ah, leader. So the main thing I want to look at here is got four Midi tracks and four audio track set up. So that's just the jazz template. Let's look at one more open projects. Let's create. It's like a drum and bass. Let's see what they have. No, it's not saying that. Okay, so again, this time they just have a drum loop on a drum track. Let's hear what that loop sounds like. That is such a nun. Interesting. German baseline to me. But whatever. Ah, I don't know who's in charge over there, but they need to work on that. Anyway. What else we have? We have a synth bass, somewhat interesting reverse clock. And she'll probably is what? That says, glockenspiel like a bell. So I guess it's kind of like a reverse bell since bad, something Droney and then four audio tracks, it looks like. Okay, so it's pretty cool. Let's look at one more. Let's see what's under a songwriter. Okay, so seem deal here. Drums. Let's hear drums. Okay, Not terribly interesting. Remember that you're not stuck with this at all. Like we can tell Really change this drum pattern to make it exactly what we want to do. And I'm gonna show you exactly how to do that. Um, very shortly, we're gonna take one of these drum patterns and make it much more interesting. But they also have a base here. Electric bass, piano, rhythm, guitar. It sounds a lot like a drum. Oh, this is an audio track. Okay, so they have audio tracks here labeled so they want you to record a rhythm guitar, a lead guitar, male vocal, female vocal. And then they left you one more or sorry to more audio tracks to play around with eso those air empty just for you to record on whatever you want. So also remembered in the same way that we contained to this drum pattern, and we can change the drum sounds. We can also change the base that they give us the piano. We can add more instruments. We could take him away. Um, as long as we don't exceed that maximum 16 tracks. So, for example, if I wanted to change this, I would go here to this expand, too, and I could change that, too. Here it's an acoustic piano. Let's change it to, ah, digital spectral. All right, so there's a lot of sounds built in here. We'll look at how this works shortly. Okay, so next let's look at not using a template and just creating a new session on our own 8. Creating A New Session: Okay, so let's make a new session all our own without the template. So up here, I'm gonna go to file, create new. Now I'm gonna click this create from templates. I'm gonna uncheck that box. Turns off all those templates, and I'm going to say, Let's call this, um, pro tools first track create. I don't need to save that other thing I was playing with. All right, here we go. See, this is beautiful to me. This is much more interesting than the template tracks. Because now we've got a blank slate, right? Totally blank slate weaken. Do whatever we want with it. So let's do some stuff with it. So I'm gonna go to track up here, and I'm to say, new new track. We can create many tracks at once if we want. So this says, create one new mono audio track in ticks. Here's what that means. How many new tracks do we want to make? Ah, let's make three new stereo And the difference when mono and stereo is ah, mono means it's just coming out of one speaker. Stereo means it's coming out of two speakers that matters when you're recording because you want. If you only have one microphone plugged in, you want to record it in mono? Um, you can set it to be stereo later. So if I was recording audio tracks because I only have one mike in my computer, I would cited to mono. But I am going to make these as instrument tracks. So I'm gonna do three new stereo instrument tracks in ticks are samples basically, Do we want to see it in digital time or human readable time? I'm gonna say human readable time, which is ticks sort of. Ah, create. Okay, so now I have those three tracks. Ah, we can name those are gonna double click on Instrument one. Let's call this drums. Let's call this synth and let's call this base and try to stick with this session throughout this whole class. So I'm gonna try to set it up. Right. Um, now let's make some audio tracks. Actually, let's not Let's not make audio tracks, cause I don't need them yet. Don't make things that you don't need, yet it just gets cluttering. So with that, let's jump to a new video and let's talk about just organizing your session and how I like to work in pro tools 9. Organizing Your Session: Okay, let's talk about organizing our session and keeping everything nice and clean. Um, I will mainly want to point out three things here. One is please name your tracks correctly. This is especially important when we get into audio tracks. Um, you can change the name, but once you have an audio track and you've recorded some audio on it, it gets really problematic to change the name. After that, we'll talk about that a little bit more when we talk about audio tracks. But for now, I remember a double click on it. You can write whatever you want. Ah, for the name of it. So let's keep our session nice and organized. This is ah, when you're actually creating music. When we get to that, you're going to thank me for it. Another thing you can do to keep things organized is the color of this little bar. I know this sounds stupid, but it's actually super handy. So if I double click on this little bar, I can change the color of it. And Aiken, it can kind of help me keep track that way of what's going on. So I would say my drums are red. And if I get in the habit of doing that with all my sessions, every time I open a session, look for the red track. That's gonna be drums. I don't have to dig through it, you know, 16 tracks worth of stuff. Um, it could be handy. You could also do it. It's kind of the default four pro tools. First, is that this mustard color? Let's call it our Midi tracks. And then I think audio tracks were blue. I think so. We could keep everything that way like that, I suppose. Ah. And that tells us what are midi tracks and what our audio tracks, which is handy to be able to see. So I'm gonna turn my drum track red. Ah, just because that actually is something that I'd like to dio. It's just ah, thing that I do. Last thing is, think about the order of your tracks. If you've already made tracks, you can change the order. And I'm finding that in pro tools. First, it's really finicky on changing the order of your tracks. Um, what you have to do is you grab it's just a click and drag thing, but you gotta do it in just the right spot. So the name of the track just to the left of it right here, click and drag their hopes to double, click, click and drag right in that little empty spot. And then you can drag to move stuff around. Okay, So if I wanted this, which is actually probably how I would normally do it drums, bass and then everything else, so I'm gonna keep it like that. So just remember, if you want to rearrange stuff, do don't drag, grab on the name of it because that doesn't work all the time. For some reason, just to the left of the name. Grab it. And then you can change the order. Just a couple of things on keeping your session nice and organized. The more organized you are with your session, the more efficiently you will be writing music. So with that, let's move on and talk about creating some audio files, and then we're gonna import some audio stuff 10. Importing Audio Files: all right. In this video, we're going to make an audio track, and then we're gonna import some audio to it. So you already know how to make an audio track. But let's do it anyway. So we go off the tracks new, we create one new Do I want mono or stereo? The question here since I'm about to import an audio track is is the audio track than about to import in mono or stereo? Pretty sure it's in stereo. So let's do that than audio. Track is what I'm gonna import or what the what kind of track I want to create, cause I can only put an audio file into an audio track. I'm gonna leave it ticks. Great. Okay, here's my audio track. Now it put it above my synth tracks. So let's put it underneath. Here we go. Now, I want to put an audio file on there. So here's what I have here. Here. I have a bunch of drum loops and I'm just gonna import a drum loop. It's gonna click and drag plop it down right there. Can just drug it right in. Wait. Okay, So now I have Ah, an audio file in there. Now, I can do that as many times as I want. Um, well, up to 16 total. So we just got to create an audio file and let's rename it. So let's call this drum loop. Ah, and then you can just drag stuff in from ah, your finder or desktop or whatever you want. Okay, so now we have an audio file. Okay. So up next, uh, let's create a new let's create one more MIDI instrument and walk through how to actually put an instrument on those many tracks. 11. Adding MIDI Instrument: Okay, so I already have these three mini instruments here. Let's actually load them up with stuff. So what I need to do is go to this inserts tab. Now, if you have this instrument column open as well, you may or may not have this open if you don't, By the way, you go up to right here and anything with a check mark is what I have open. So if you don't see this insert column go hearing, make sure you've got a check mark by that, and I just hit it, which is what I want. This instrument columns different. That's like the MIDI instrument. Like the actual thing I'm putting my hands on. What we need to do is put in something that makes sound here right, Because if I go up here and play my MIDI instrument, I hear nothing. So I need to go here to inserts Click. I'm going to go to multi channel plug in. These were all are plug ins that we have available in this program. And now I'm going to go to instrument. Now. What you see here is probably different than me. Um you should see this expand too. You probably don't see eyes isotope next to her or able to live. Those are separate programs I have installed on my computer. You probably don't see those, and that's totally okay. This expand to is what we want. This is the main sound making thing that we get in pro tools free. This has a whole bunch of many instruments in it, and we're going to use this thing throughout this class. In fact, the next section that we do is going to be about how to use this. So for right now we can click on right here and select some stuff you can see there's like an insane amount of sounds in here kind of wild. So I called this track drums. So let's see what we've got for drums. We've got a bunch of snares and then probably a bunch of full kits. Let's do Let's go actually do just a file. It's like just tears. Okay, so now I've got some stairs here. Right? Um, so let's do the same thing with our other tracks. Let's load up a base here. What I was thinking was a bass synth, so I need to go to the same spot. Expand too. And let's load up. So we have our base bases. Let's do full pick base. Sure. Oops. Ah, all right. Not terribly interesting, but we're Brighton that up later. One more time to get the this synth. I'm just going to kind of pick something fun here to do a poly since we're a lot of them strung up. That sounds fun. All right, now, to hear these, make sure you've got this arm to record the one you want to hear. Um, So you gotta hit this button so it's blinking, and you should be able to hear it once you do that. Okay, great. So I've got different since sounds happening. I've got a drum loop now. The next thing we should probably do is dive into this expand to and learn a little bit about it. So let's do a couple of videos just on how that works. How to make your own sounds on how to do some cool things with it. 12. Preset Patches: the instrument that we get with pro tools first, is this one called expand to know my instrument? What I mean is the sound generating thing, the thing, the piece of software that's making our sound different software, calls of different stuff. Um, I still call it an instrument which I think is a carry over from my experience with able to live. But, um what what it is is the piece of software that makes the sound. So if you created one and you want to get it back, just ah, click on this little box, not the little tick over here, but the actual name of it. And here we have it. So let's spend a few minutes looking at how to make sounds with this thing. This doesn't give us ah ah, huge amount of control over really crafting our own sounds. It does give us a fair amount of control over creating our own sounds. So first thing I want to look at is some of these built in presets. Uh, not just these, but these. So there's two levels of presets here. There are each individual sound, which we have probably thousands of here, right just tons of sounds. Right. But we also have presets up here. Okay? Thes presets are gonna be different. Here's the difference. This synth. This instrument can have four different synthesizers playing at once right now. I have to. You could add for that. You get a much more complex sound. We're gonna talk about that in just a minute. But if you want to do that, what you have to do is load in a sound, load in another sound and get everything working just right. What these presets up here are is ah, pro tools has kind of put together a groups of sounds that will sound good. That's a strings. Uh, echo harp. So this one, it only has one sound. Okay, let's find one that has more than one sound. Ah, since bases dirty B Hi also only has one side. I'm striking out here. Um, there we go. This one has to sounds. It's got a muted trumpet. And in alto sax, the's presets up here are really handy. Just Teoh. Here's when I was four sounds. I'm gonna play a single note here. Someone's holding down one note. Okay, that's interesting. Let's look at another one of these. Here's one that has three. So what we can have is a sound that's made up of several different synth patches. Um, and you can make your own of these, which is what we're gonna do in the next couple videos. But I wanted to point out that these air here and there are a lot of them are really great . So if you just want, like, a guitar sound, you cue up one of these rather than loading guitar sounds down here. Ah, this is a great place to start. Is all of these patches that they've built in for you here We would call these patches. By the way, patches would be like, Ah, file. You can load into a simp that's gonna queue up and change all your settings and do a bunch of stuff. So those are cool patches, But for the individual sounds, let's look next at how to dial in one of our own sounds, um, and make something that is multi temporal with this particular synthesizer. The expand too 13. Creating Multi Synth: Okay, so let's go back to a default. So I'm gonna go to my patches here. I'm gonna go to factory default. Okay, so now I'm just down to just one sound. All my dials, air pretty much set level. Um, nothing too fancy. So what I want to do here is a multi Tambor role. Since now, Tambor, in terms of synthesis means ah, sound. It literally means color. So it's like, the different sounds that we have. So we're gonna make a sense that has several different sounds. So here's the default. Okay, way we could leave that enter. We could change it. Let's change it and click on this and let's do it. Let's just make oh, really fun synth here. So let's do glute. Okay, Sure. That's neat. Now let's add in another one. So I'm gonna go down here to be okay. Click here and let's dio or get inquire about that now when I play on my sing keyboard way . Actually, we have to have two sounds happening. Okay? If I want to hear just one of them and turn this one off, so I'm just gonna hear the glute or you're just the organ choir. Now here. None of them. Okay, now your boat. What's had 1/3 sound? What the heck? You know, soft pad, epic pad. Okay, let's hear Just that new one. That's cool to him altogether. Okay, Now look at our volumes here, okay? When I play a chord, we're hearing now very much of this one for a lot of our organ wire less of our soft pads. That could be okay. You want to balance these one of mixed these, But let's try to even amount just to see what it sounds like. So I'm gonna boost this, you know, getting a lot of okay, cool. So we can make more complicated sounds. We could add 1/4 down here if we really wanted. Now we have more settings that we can use. Um, if you look at this A, B, c and D what that is showing us is what is in this window up here, you can get to the same settings here. Okay, So if I want to see the settings for this glute click on A is gonna move a up here. Excuse are the same. And here are more settings for want to see the settings of B I click on Be Pure Settings for Be OK and see Michael Gundy. I'm not gonna see anything right? Bunch of empty knobs. So all of these settings air different, depending on what? Since you've queued up so we don't have infinite control over this. But we have attacked for this glute. We have glide attack, Ben, cut off filter, decay, Attack and Release. So let's look at what's on Be FX mix. That's way down. Let's turn that up. Something here. Just the organ choir. Two more of our effects. Oh, it's got a little muddier. We didn't really hear much of the effects in there. Um, balance cut off resonance. That should do something. It's a writer. In this case, cut off. Pull it down s so we can adjust little things here and there in all of this. Um, let's see what's on c for mint. Uh, that's, like kind of like a vowel sound. If it was your mouth, it's like me a while while Wow, that kind of thing. E don't hear it a lot here. Oh, God. Make a new note. Okay. So you could adjust that all of these things are completely separate based on which voice you're on. We would call each of these voices in this case. Okay. And then you can adjust the levels now. Ah, let's also talk about the use knobs, panning and effects. All right. Ah, and let's go to a new video. Let's talk about panning and effects. 14. Panning And Effects: Okay, so let's go to just my glute here and turn everything else off. Oh, okay. So panning is the right or left spread, remember, were in stereo. Here s so if I pull this all the way over should be hearing it all on the left side on. And now you should be hearing it on the right side if you don't hear it moving around when I do that. Ah, plug in headphones Your computer right now. And you should be hearing that. I believe my screen capture software is recording in stereo, so it should be moving around when I do that. Uh um So that's what panting is. And if you're working on a multi temporal since like this, it can be really cool to say, like, let's put this glute over here to put this organ choir over here and let's put this epic pad way over here. I mean, it's that one back a little bit on the different panning can help you create a more dynamic sound. Now the effects. We have two effects here. Hey, affects one and effects too. Now those correspond to these a fax down here. This one is a reverb, and this one is a chorus. We have some presets for our effects here, and I guess we have a couple different effects here. So we have a bunch of different kinds of reverb and then different kinds of choruses. Some echoes resonate er's more choruses de tune pit shift. So a couple different, relatively subtle effects. So we have to turn this on. Let's turn that on and let's turn that on. Okay, now let's crank up. Affects one. That's gonna be this stuff way a lot of river. Let's add that chorus in three. Remember, we're just adding effects to this glute voice. This top voice. If we add in a ton of effects on all our other voices, we're just gonna wash this in effects. Oh, right. It's getting really affect heavy. Um, but remember, you have to turn these on, and then we can We can adjust them and change what we want to change about him. Let's add something obvious like a ah, a big delay. Lo fi ping pong. Let's try that And thats solo again. Just my glute my reverb off. OK, so now we've got this nice big delay on it. If I want a delay on Lee on this glute, I turn it off on these other two. When I turned everything else on Onley, that one's gonna have that delay. That's kind of a cool sound. Actually, I kind of like it where these air really washed out in reverb. This has delayed, but nothing else. Let's give this one just a little bit of reverb. It's pretty cool. I'm gonna leave it just like that. Okay, now that we've made this cool thing, let's talk about how we can save this so we can recall it later. 15. Saving And Recalling: Okay, so let's save this thing now that we've made it, um, the reason we would want to save this. I don't think we need to in order to use it in our track. But if we want to ever use this sound in any other track, we could pull it up, despite creating it as a preset. So I'm gonna do is engulfed presets in this little tiny arrow right there. Click on that and save settings as okay. And let's call it something. Let's call this. Ah, washy pad save. Okay. Now washing pad. Now, whenever I go to this menu now on the same computer this has now saved to my computer, I can pull up washy pad from that list. It's gonna give me myself. Okay. So, ah, if we open a new track, whole new session and we go to this menu will see washy pad ar Least we should. So that's saving and re calling it. Ah, super valuable to do that whenever you make a sound. And it's interesting. Save it. Um, save it as its own thing. I can't stress that enough, because sometime you're not gonna do it, and then you're going to spend hours trying to remake that sound and wishing that you had it. Okay, so that's the expand to in a nutshell, not the most powerful sense in the world and that it gives us control over every tiny filter and ah, wave form. But it does give us ah lot of stuff. You know, we do have a lot of different sounds we can make with it. So with that, let's go back into pro tools and let's start talking about editing and putting some stuff together. 16. 16 NavigationinProToolsFirst: Okay, let's dive into our editing tools here in pro tools first. So I want to cover four things in this video are different windows, which is the edit window. And the other one is the mixed window. That's 1st 2 things. And then how the counter works and then how we zoom in and out. So, um, let's talk about the two main windows first. So this is our main window that we're seeing here. This whole big thing. It was all our tracks and everything. We need to know just about everything we need to do. Um, this is called the edit window. You can see up here, edit and in the name of our track. The other main window is called the Mix Window. It looks like this kind of replicates an old ah mixer that you may have seen somewhere, right? So in here we have a lot of the same information. But we also have, um, big volume Vader's. So what we can do here is just about everything here we could just stick to, you know, our edit window for 100% of everything. Um, there will be a way to do that if we really wanted Teoh, However, it's just really handy to be able to, especially when you get into the mixing phase to be able to, you know, really get some fine control of our volume. Vader's and see what are plug ins air doing in all this other stuff. So it is handy. But my general rule of thumb here is while we're creating while we're making stuff, we're gonna live in the edit window. Not until the end, when we're really getting into the minutia, Will we move over to the mix window? So we're gonna mostly live in the edit window here. Now, if you notice, you can flip back and forth pretty quick between the two. Um, I'm not going to give you 1000 key commands to memorize, but this one is actually pretty handy. Its command equals is what flips you between the edit window in the mix window. Remember, command equals that might be the only key command that I ask you to memorize. Maybe you wanted to other ones, but ah, it's handy, especially when you're mixing because you do want to bounce between the two fairly often, so those are two windows. The edit window in the mix window command equals is what gets you between the two of them. Okay, let's talk about the counter up here. So this is showing us bars and beats. We can change it to show minutes and seconds by clicking on this little arrow right here. So that says we're six seconds in, right? Um so it's showing you minutes, seconds, and then milliseconds, I believe. Ah, bars and beats are showing us how many bars beats. And then here I believe it's ticks, which there are 200 something that looks like it's counting up to 1000. So they must be doing Ah, 1000 ticks for every beat. Um, it's which is handy, Ah, to know exactly where we are within the bar or the beat, especially when we get into really fine. Ah, fine editing. So we can toggle between those two with this little arrow right here minutes and seconds or bars and beats. Now I'm going to stay on bars and beats because what we're going to do is make something and we're going to make something at a tempo, so bars and beats for now, gonna be more useful to me. More on that in a minute. Ah, the last thing I want to show you super important is the magnifying glass tool right up here. We're gonna talk about these three tools next, but the magnifying glass tool is super important. So this is just going to zoom in and out, right? I'm gonna click somewhere, and we're going to zoom in to zoom out. What we're gonna do is hold down the option key and then click again. You'll see the magnifying glass has a little plus in the center of it. When I hold down option that turns to a minus. Okay, so zoom out. Zoom in, get so magnifying glass tool is going to be very important. You can also do it down here with this, but it's a little clunky to work with sometimes, um, I like to go back and forth between the magnifying glass tool, but this little one down here in the right corner, um, is also handy. So use that if you like. Okay, so that's kind of our main layout of the program. We've got our transport up here. Transport just means our play stop record buttons will get into those shortly, uh, and then our main tools up here that we're gonna need. And let's go to a new video and walk through our three main tools. 17. Editing Tools: Okay, let's talk about our three million tools up here. These are gonna be the lion share of what you're going to use while you're creating something in pro tools. So first, the selector tool. Let's start with that one. That's the middle one. Looks like that this led to select a chunk of a clip. Okay, so, um, any piece of audio or midi here? We're calling a clip. So this is one clip we used to call it a region. Um, so sometimes people still call them regions, but the newer version a pro tools call these a clip. Um, so this will select anything within the clip. You'll notice that I can't select anything less than an entire beat here are actually an entire bar. Okay, so I can actually that's going to be set up here. So right now I'm on this grid setting, but I could do slip, in which case I can select, actually, anything. I'm not on a grid. The grid is useful for keeping everything tight and in line. Like I want to select a whole bar. I don't want to select any less than a whole bar, so that can actually really save you a lot of time. But if you're not doing that, you can go over to slip and just grab exactly what you need. Now for this, you're gonna want to zoom way in and make sure you're getting just what you need. But we'll talk about editing audio in just a minute. Let's talk about the rest of our tools first, Okay? The grabber tool. That's the hand this similar, Except it's gonna grab the entire clip, and that's gonna let us move it around. All right, So with the grabber tool, we can move things around. We can grab it to highlight it. And with that, once we have it highlighted, we can copy paste cut so I can copy and go somewhere else and then paste for that, I'm gonna want to use actually the selector tool to put the cursor somewhere and then I can paste. Okay, So same thing with the selector tool. I can copy and go somewhere else and pays just that bit if I want can also highlight and delete just by hitting. The delete key is with a grabber tool. I could grab a whole thing and deleted if I want. So the main different. These do essentially the same things up. The grabber tool grabs entire clips. The selector tool grabs portions of clips or entire clips. I mean, I could do this and grab the whole thing to the last one is the trimmer tool. This one? This is going to modify a clip. So this one's a little bit different. What I can do here is go to the end of a clip and pull it back. I could also pull it forward. Now, what this does is this is not adjusting the time inside this at all. We're gonna do that in just a minute. What this is doing is just chopping stuff out. So I'm just getting rid of that bar. That's all I did. There's get rid of the bar so it hasn't changed the audio Inside this at all. Everything is still the same. Now I can get it back by pulling out, and I can go all the way back to as big a zit Waas. No, this is something called nondestructive. Editing is kind of the fancy term for this. What that means is that if we get rid of something like that. That whole file is still here. It's still in our system somewhere. And we can get it back just by pulling it back open. So you're never really deleting anything? Um, when you're working in pro tools. Ah, you're just kind of telling pro tools to ignore that part of the file. But this file, the full thing still exists on my hard drive, and I can get it back. There was at a time and probably still is some audio programs that were destructive meaning with I pulled this in fight ID this and got rid of some audio out here. It deleted it from that file and it was gone forever. I used to work a studio where I had to work in one of those and it was a nightmare. That was long time ago, though, so hopefully those programs don't exist anymore. Just about every audio program now is nondestructive and works in that same way. Cool eso Those are main three tools. Last thing I'll mention is that with the selector tool, it also is handy for playback functions. So if we want to just jump to if we want to just jump to right here and hit the space bar to play. You can do that. You can go right here and hit play so I can use it just to click on somewhere and say, Start playing from right there. Ah, you're gonna want to do that with the selector tool. Those are three main tools. Okay, let's move on. Next. Let's talk about screen. Real estate. Something that sounds extremely boring. Um, and kind of is, but you're gonna be glad that you know about it. So let's do that in a separate video. 18. Optimizing Screen Real Estate: Okay, So, screen real estate means that we have a lot of stuff on our screen and we want to hide what we're not using and what we don't need. Um, because we want to be able to see as much as we can when I get a big session going here with 16 tracks. Ah, I might not need to see, you know, all of my inserts here. You know, maybe I don't need to see my instruments here, So how can I get rid of those? We sort of looked at this quick, but whenever you see this symbol, that means there's stuff that can be hidden. So let's get rid of my instruments. See, that frees up a little bit more space. So now, Aiken Seymour of the actual audio files, I want to see as much of that is possible. Maybe I don't need to see the Iot right now like I'm not recording. I'm not doing anything. I can hide that. I believe the inserts in, I guess now, in pro tools first. Ah, this is the only spot that we have this window to show and hide stuff we do have out here. I have this clips window showing which I can hide by putting my mouse right over the border here and then clicking and dragging to make it small, bigger or smaller. But just smashing it all the way over that's going to get rid of that to smash that all the way to the right. If I want to get it back, I hit this little arrow down here, which I can also show and hide it from that. Okay, the MIDI editor down here, that little symbol means pop it up. So I'm gonna need that sometimes. So I'm not always going to need it, So I'm gonna hide it when I don't need it. So in the regular version of pro tools, there's a lot more we can show and hide. Um, there's other things, but in pro tools, first, they've kind of simplified it a little bit, and there's less that we can show and hide. But be mindful of all of this so that you're not having big, huge amounts of space like this. Like look, see how much space that half my screen almost you know, now I've got a lot less of the song that I can actually see. So we don't want to do that. We want to get down to just the essentials so we can see as much of our music as possible. Okay, so keep that in mind. Okay? With that, let's get into, um, editing some audio. 19. Time Stretching Audio: Okay, so let's get into actually making some music here. So I have this drum loop, but this drum loop has a problem. This drum loop does not fit into my tempo. So my tempo, which is up here, is 1 20 beats per minute, and this is 93 beats per minute. And the only reason I know it's 93 beats per minute is because it's written into the name of the file right here. You might not be so lucky. Ah, lot of drum loops have the BPM written into the file name. Ah, and this one does. So this is 93. That's 1 20 The numbers don't really matter. Here's what matters. What matters is it doesn't fit. They're not the same. So I can tell her not the same. Because if I put this one, if I put my clip to start at the beginning of a bar, so I'm gonna go back to my grabber tool. I'm gonna move this back to start at the beginning of a bar, and I Look, it doesn't end at the end of the bar. And just about any audiophile that's a loop is going to be 12 or four bars long. This one is 12345 and a little bit more. So that's not right. So I probably want to get this to four bars. So I've got to do a little bit of time stretching here to make it work. So here's I'm going to do first, I'm gonna make sure that we're right at the beginning of this bar. And actually, let's go all the way to the beginning of the song because now I know that I'm right. It's beginning because I can't go to the left anymore. So I'm dead on the beginning of this first bar. Okay, so that's important, because if that's off this next, peace is off as well. Okay, now I'm gonna go to my trim tool, and I'm not just gonna trim back to four bars, even, right, cause that's not gonna be right. That's still not gonna work, because I just shortened the audio file. I didn't change the time. What I'm going to do is click and hold down here. I'm going to go to this T c E. Now what we're gonna dio is the same thing because now you can see the audio is actually speeding up and slowing down as I stretch it. Right. This is what pro tools cause Elastic audio. Other programs call it different stuff. Pro tools cause it elastic audio. Okay, now I want that toe land, right? Exactly. On this bar, it's or do that. I gotta zoom in a little bit. Maybe a lot. Okay. Now that I've zoomed in a ton, I can see that I'm actually over. Go back to that tool right on there. Now, I might try going to my grid and see if it just snaps to it. Oh, it did good. So I went back to the grid setting and it snapped right to this bar line, which is great. That's what we want. We want that right on that bar line, Sonam zooming out. And now we should be right on. This should be exactly 1 20 So let's hear it and see what that sounds like. Because whenever you do that, whenever you do what I just did, you do degrade the audio file a little bit. So let's see if we can live with how it sounds. Theo. Okay? It's pretty good. It's a little muddy in there, but I think it's OK. Um, we can confirm that we're right by Look at our beats up here. You can read the beats 1234 as they come across and see if it feels right. 341 13 or one Number one. OK, that feels pretty good. So I think we got it. So remember the way we did that is we went here and then we selected time, compression and expansion. That's what this middle one is. And then we drug it around. We got it exactly on our grid. Okay, Now there's more we can do with this elastic audio thing. Um, and I'm going to show that to you in the next video. This next thing, though, working with elastic audio in the next way, it's getting kind of advanced. Um, you might not need to do it in your track, and you should not do it if you don't need to do it. Because again, it does decreed your audio whenever you start messing around with these things. But ah, we can do it in this program. So I have to show you how to do it right? Um OK, so let's do that. Let's jump to a new video and let's talk about moving around individual beats within the bar. 20. Elastic Audio: Okay, So what I want to do now is let's say that now that I've adjusted it, some of my beats aren't lining up just right. And I actually want like, like, you know, this beat right here to be on the one of the next bar. But I don't want to change the whole thing. I just want to adjust some individual beats. This is really cool stuff, actually. So here's how we can do that. First step one, go to this little nugget right here. Remember when we created this track? We said, how do we want to see? Ah, the track in samples or in ticks? We said ticks. Now we're going to need it to be in text on this. So if you said samples, switch it to text right here. Okay? Now we're going to go to this. This is what is it showing us? We're saying show us the way form. That's what we're seeing. Okay, No problem. We can show volume mute panning whatever we want, but what I actually want to see is warp. Okay, so now I'm gonna zoom in quite a bit here, get my magnifying glass, and look at what's happening here. Now these are work markers. I already put these in myself so I can add award marker by this double clicking. And that adds all my wart markers. Now, I can move individual beats around by moving these arrows, or I can control, click and say, conform to tempo. That'll snap everything right into the tempo that we have set up, which is 1 20 right? So that's gonna move everything for me and just snap it into the right tempo. It's gonna fix any rhythmic problems, right? Super great. So you can go in and add a 1,000,000 wort markers and move them around if you want. But remember, every warp marker you add, uh, is going to be more math that it has to do on your audiophile, which is gonna be degrading it slightly, very, very slightly every time. But if you do it ah, 100 times, it's gonna get audible. One way you can avoid that. Um, degradation of your audio is by going over here where I have rhythmic set up. If I click just to the left of this on this little spot, I have these four options polyphonic rhythmic mono phonic and very speed. Now, these are essentially these are like different modes that it can use toe warp. Everything will work the same. Except, um, you want to kind of give it a clue. You want to say, Here's a clue of what kind of sound this is so that it knows what kind of algorithm to use and that will lead to less degradation. So I have it set a rhythmic because this is a drum loop. So I want to say, Hey, keep all the rhythm elements That's important to me. Polyphonic would be like if it was like a whole song, I would send it to Polyphonic. Monta Phonic would be like if it was a synth line or a vocal line. It was a vocal line. I would use mono phonic, and it was nothing else. Just someone singing very speed. It means that we're going to treat this like it's a record. Every time it slows down, the pitch is gonna go down. It's basically like old school Ah, pitch time and pitch adjustment, so you probably don't ever want to use very speed. Um, but maybe you do. It'll sound goofy in this case, so I believe it on rhythmic. But that will help you to, um, make it sound as best it can. If I switch it to a different mode. It's not gonna sounds good. Let's zoom out and let's hear how that sounds. It's pretty clean. It's pretty good. I'm pretty happy with that. Okay, now that we've done that and we've got our drum loop to be totally in time, let's go to editing our audio here and start to create a little bit of an arrangement. 21. Arranging Audio Files: Okay, so we're gonna make a song, and we're gonna start with just our drums. So first, I'm gonna go back to my selector tool here, and then I need to get out of warp mode, cause I don't want to mess with this, you know? I got it how I want it. So I'm gonna go back to this menu only. Say, wait for him. This will keep me. You know, my my warping is locked in. Now, I don't have to worry about that. So what say, um, I'm gonna loop this a couple times, so let's actually go up to our our trim tool and let's like this loop setting now. Okay, So now I can grab the end of it, and we're just gonna were just looping it now. So let's drag that out to be. I don't know. I'm on the 12th bar here. Go back to our magnifying glass and zoom out a bit. Let's go. Let's go See? So we had a four bar loop. Let's do our four bar loop four times. So what is 48 16? That's right there. Two shy of 17 to 16. If we zoom in a little bit. We'll see that 16. There it is. 16. Okay, now let's do a break for four bars. Let's leave it out. And then let's put it back in for another 16 bars. So here's I'm gonna dio I'm gonna grab my grabber tool. I'm gonna select the whole thing and copy it. Good at it and copy. No, I'm gonna skip four bars. 1234 And I'm gonna put it back in, so I'm gonna grab this tool. 1234 Click right there, right on the bar and paste. Now I have that whole thing in again for another 16 bars. Okay, so in my arrangement, now that I'm starting to put together, I have 16 bars of my groove. I have a four bar arrest and then I have 16 bars of my groove again. Okay, so this is just a example. Arrangement. You e I think you can see what's going on here. I can copy and paste this all over the place. What I'm gonna do next is I'm going to start to lay down some synth parts to fill this out , and then I'm gonna record some stuff, um, to put in here to fill out my whole song. I'm just gonna make this little song that's gonna be 16 4 of drums out and then 16 in I don't know what I'm gonna do yet, but we'll figure it out. So that's how we can just kind of. That's kind of a quick overview of arranging some audio. Um, Next, let's keep track of our song by adding markers hugely valuable. 22. Adding Markers: okay, When you're working on a track, it is super valuable to remember what you were thinking when you put something together. Like, Why did I put this four bars of no drums in here like What was I thinking? So leave yourself a little note up here. It says markers. And there's a plus side. Let's put our cursor right here on the 16 and go and click on that plus sign name. What do we want to say about this? Let's say Let's just call this a break. We can write whatever we want and in comments, um, this is where the drums drop out. Do something cool here, okay? It's now you can see break happens there and I can click on it to get more information about it. And I can see my comment. You don't have to put a comment, but you can if you want. Um, not gonna go here at a marker and say, Ah, let's call this the chorus. So that's normally how I would use these markers to call out the versus the chorus. Um, the second verse, the other chorus, key changes, tempo changes, anything like that. Um so for our little song here I have this location one I dont know why thats there I must put that in earlier. So I'm just gonna click and drag it, Put it at the beginning and then let's change it. And let's call it, uh, intro case and I have intro break and chorus Cool. And then maybe here I'll put Outro No drums. I'll do a little outro there. Let's some stuff filter out until the end until it ends and that will work. Okay, so adding these markers super important, all you have to do is go to this markers button hit that plus sign, and wherever your cursor is at that point is where you will create a marker. Once you create them, you can click and drag to move them around if you want, and they will move according to this grid setting. Or if you just want to freely move them, you can go to slip and then they'll move wherever you want, and not just on the grid. 23. Setting Up To Record: Okay, so it's time to record some audio. So the first thing I want to do here is visit our set up our audio set up to make sure everything is gonna work well for us. So in order to do that, I'm going to go to set up and hardware that this works a little bit differently than it used to. An earlier version of pro tools. Um, I don't know if it's a Pro tools first thing or not, but when I launch hardware, it takes me directly to my system audio settings. So you'll see no new window popped out. I have to go toe window, show audio devices. And now I see my system stuff. This is I'm outside of pro tools. Now. I'm into my computer system. So if you're on a PC, this is gonna be totally different. Um, conceptually, you should be able to follow along with the same thing that I'm doing. It's just everything's gonna look different. And, um, but basically, what I'm looking for here is input and output. Okay, I can adjust my input here because I don't have any inputs on this device. So these are all my possible audio devices. So I'm on built in output. That's just the speakers in my computer, right? So for output, I have two speakers for input. I have no speakers, and you can see that here. Zero ends. Two outs. Okay. This these USB audio things. These are other pieces of software. I think, um, we don't want to use them. Ah, this webcam has two wins and zero outs, meaning it has two microphones built into it, one on each side. But it doesn't have any speakers. So no outs. So ends would be microphones or the ability to plug in a microphone outs Would be speakers , um, or not just speakers, but the ability to send an audio signal out to a speaker. Let's put it that way. Case of pro tools aggregate. This is the internal pro tools software system, So this is not a piece of hardware. So it doesn't have any ends because I can't plug anything into it because it's a piece of software. Um, but it has two outs because it's sending audio out of pro tools into the computer. What I really want is this one, because this is where my microphone is plugged into. This is a piece of hardware I have called Moto Ultra Light Mark three Hybrid. This is an actual piece of hardware, So if you want a plug a microphone into your computer, what you're gonna need is either a piece of hardware that lets you plug in a microphone or a guitar or whatever or a USB microphone. So in my case, I have this piece of hardware and that piece of hardware. We kind of generally call it an audio interface. So you need an audio interface or a USB microphone or, ah, like you can get like a USB cable for a guitar that, like on one end, is a guitar cable. On the other end is a USB. I don't know about the quality of those, but I've been impressed lately with us be microphones. They're getting way better. Um, I got one recently, and it sounds really good. So, um, those were getting better all the time. So maybe those guitar cables are as well. Um, so if you have a USB microphone, it's going to show up in this list because it's going to be its own device, and it will probably say one in and zero outs. And so what we'll do is we'll go to your input here and you'll be able to see the inputs that it has now. I'm worried that if I click this, I'm gonna lose my microphone. Because right now, my screen capture software has control of this at my microphone that I'm talking into is actually plugged into this. This is like one of the trickiest things about making audio classes, classes on audio production software is that my my audio path gets all screwed up by my screen capture software. So but let's try it. Um, I'm gonna assume you can still hear me. If you can't, I'll edit this out. So now we're looking at input and output. Okay, so let's look at my input input. I have a bunch of different inputs. These analog inputs are the one I care about, and I don't need to do anything here. Um, as long as there available, as long as they show up. Ah, then they're working. But here we can see our inputs and are outputs. Outputs are my speakers. I also have other outputs. Have eight other analog outputs on this device. Ah, for sending other things. This is kind of a big device. You don't need something this big that has eight ends and eight outs or 14 ends and 14 outs . Um, if you're gonna buy an audio interface, just look for something with, like, two wins and two outs. Something like that. That's all you really need. Um, okay, I'm gonna go back to here. I believe we're all set up. So I want to leave the microphone on this mo to ultra light because, um, that's what I want pro tools to be listening to. Is that motew Ultra light? So I'm gonna do that, have pro tools, listen to the ultra light, and then let's set up a track to record onto. So let's go to a new video and let's set up a recording and do it 24. Recording Audio Into Pro Tools: Okay, So in order to record a new track, I need another audio track. Remember, these are midi tracks or instrument tracks, so we're gonna do some stuff with those later. But I can't record out audio onto an instrument track. This is an audio track, but I've already got audio on it, and I don't want to record over this. I could if I wanted to you, But I don't want to. So I'm going to go up to track and new. So we're back to this window. I want to create one new mono track. So this time it is gonna be mono because I'm just gonna plug one microphone in. It's an audio track in ticks. Now, remember, we learnt kind of that with ticks. Ah, this samples or ticks. This is easy to change later. So it doesn't really matter what we select, but if we're going to do any of that elastic audio stuff, we wanted to be in Texas, so let's leave it antics create. Okay, um, and then I'm gonna rename this. So now I gotta figure out what I'm gonna recording here. Um, I don't want record my voice because that's boring. um I don't really have an acoustic guitar, so maybe I'll plug in my electric guitar. So I'm gonna plug in a guitar in the same way that you would plug in a microphone, actually, so let's call this guitar. All right? Now, I want to look at my io settings on the track. I o means in and out. So going to go up here and select Io. Okay, so my guitar track, it says no input. Okay, So pro Tools is still using the built in input here. It see its has built in and not the mo to that I just selected. See, I should be able to say for input interface here. So the change I made didn't take Why didn't it? Let's go back to hardware, set up input here, so I might need to close and reopen pro tools in order for this interface to switch. Okay, so I fixed it. But here's what I had to do. I just pause the video and fixed it. Um, so for some reason, I to change the playback engine here. So the playback engine I had to change from built in two mo two ultralight. Um even though this is only focused on the output changing it. Ah, forced pro tools to relaunch. Ah, and then it gave me my input options that I wanted in her face. I'm gonna say analog one is what is going to be my input. My output is here. Main out 12 So, um, I think I have that all set up. So I'm going Teoh. Now try to record something and see what happens. Okay, so I have my guitar plugged in now. And so what? What's happening now is my guitars plugged into my first input. My analog one input. I have this armed to record, meaning I click this record once so that it's blinking. So we're not recording yet, But we are monitoring. Which means my level right here is showing up, and it's accurate. Okay, So, um, I can look at my level now and see if I'm getting too. That's pretty good. That's maybe a hair too loud. What you want is to be in that lighter green right there. I think soft. So I'm gonna turn my guitar down. Just a touch. That's pretty good. You don't want to get too high and you don't want to be too low. You want to be right in that light green If you get too high, I can't do it now. Well, here, data. You hit that red thing and that red things going to stay lit. That means that you clipped clipped single means. It's a signal that was too loud. And it's distorted because it was too loud. So after you record something, go through and see if there's any of those Ah, read little rectangles right there. And if there are, that means you clipped, and you should probably re record. It is the easiest way to do it. You can click on the red rectangle to make it go away. Okay, so we go back, get a good level a little, okay? And let's try it. So I'm just gonna try to play something, and, um, I'm gonna give myself one bar of just hearing the beat, and then I'm gonna try to record four bars. Ah, and then I'll just loop that after I record it. So here we go. So I'm gonna hit the record button here and now everything's ready to record. I just got a hit the play button. Okay, here we go. Okay. So I recorded this. Um, the way form looks OK. It could be a little louder. Actually, I played it kind of soft because I was trying to hear the beat. Um, but I think that's enough of a signal to work with. So let's go to a new video and let's edit this into our arrangement. 25. Editing Our Recording: Okay, So first, let's just hear what we've got. Let's play it from right here and here. What? It all sounds like together. Okay. So I could have kept playing this, you know, all the way through. But I just played it once mostly because I wanted to talk about editing it into the arrangement. So the first thing I'm gonna do is I left this one bar here. Ah, so that I could hear the beat before I started playing. But now that Ah, I don't need to do that anymore. Let's chop that off switch tools and let's bump that over. So now it's going to start right at the top. Okay. And in the end of the rift is right here, So I let it continue to ring, which I don't really need to do. So let's make sure our loop is perfect. And then let's copy and paste. So now we should be right on the grid. Oh, what's happening here? 123412341234123 So, this when I set this up, this was not a number of bars divisible by four. No problem. Let's just add another bar by pulling it out. It's totally fine. Now. We have a three bar break here, which is kind of weird. Let's go back to it being a four bar by just bumping this over by a bar. Now everything lines up. Well, okay, let's hear it in context now with that loop. See if this sounds smooth. Hoops. Let's go back to the beginning. Not quite. It's close. But you know what's happening is right at the beginning of the loop, there's a little pause, you see, right there. So how can I fix that? Well, I can chop it out. You're I could go to our, um, elastic audio and go to our warp setting here and see if I can just So I'm gonna go back to the slip mode, I'm gonna turn the grid off. I'm gonna make to angers so that nothing that I do here effects up there any higher. Now I'm holding the shift key and I'm clicking and dragging this back so that we don't have that little stutter there. Let's go back to the 1st 1 Let's do the same thing. So I'm gonna put a wart marker there. What markers? Somewhere up here just to anchor it down. Pull that back. Okay, let's go to the next one. I should have done this before I copied and pasted it. That would have made this a little easier. But that's okay. Oops. Get rid of that one. I added too many their groups. Well, that's OK. We'll do that. And then that. Hey, and there should be one more, I think. Right? Yes. There. There really wants to put one there. So let's do that. Okay. That should clean up that loop quite a bit. Let's go back to look at the way form. Zoom out. Let's hear it now. Okay. Uh, I'm happy with that. Now. I could go through and deal with little things like this. Like you can kind of see the wave form is shows that my strum was actually late on this beat here, but let me just cost you against caution you against doing that. We don't want to. Typically, we don't want to go through and make everything exactly perfectly on the beat, cause that really takes the kind of human element out of it. If you're doing like Elektronik music, and you want it to be like everything to be dead on the grid. Then you can do that. And we could do that here. You know, you could do whatever you want to do. But I'm just saying, if I snap everything exactly to the grid, it's going to get to be a little. It's not gonna sound like a person played it, really. It's gonna sound kind of fake. So let's finish out my arrangement now by taking this and now I'm gonna copy this last one which has the fixed beginning on it and put it over here and here again here again and one last time. Oh, and I did the same thing here and that this is an odd number of bars. So let's just unwrap one more. Remember, I'm not stretching here. I'm just opening up what is already in the file, and then we're all set. Okay, so now I've got my guitar track in there. We're gonna look at some e que and effects in things in the next section that will ah, that will use to kind of liven up the sound of this guitar track. But for now, let's move on and talk about recording midi and doing something with these tracks. 26. Setting Up MIDI To Record: All right. So in order to record a midi track, we need a MIDI instrument. Um, first, we need a MIDI instrument. I'm gonna show you away in a minute to do it without a midi instrument. But let's assume you have one for this first part. So that's like a midi keyboard or something like that, which I have here in front of me. Um, so if you have a midi keyboard, here's what you're going to Dio Ah, we do want to visit this set up menu here, this MIDI studio. Although in my case, this isn't particularly useful. So it's gonna take me back to that same spot this audio midi set up. So it's a show Midi studio, and it shows me all kinds of stuff like I don't know what that says. Um, this says there's a lot of many junk plugged into your computer, which is true because I'm in a little studio. So, um, I'm not gonna worry about that too much because I already know my MIDI is going in. You should see probably one device plugged in there unless you have a bunch of money stuff plugged in. What? I'm gonna look at instead is I'm going to go here to our list of things we can show, and I'm gonna look at instruments. Okay, so here are the instruments on my MIDI track. These audio tracks have nothing in that box, right? Because you can't put an instrument on an audio track. So this says this box here says what were using to make sound on that instrument? We have to have a sound making thing, and we're using the expand to already know that this one says, What midi device eyes going to control this track. And it says all. So let's look at this. Here are all my many devices that are plugged into this computer so I could say on Li listen to the able to push to Channel One if I wanted to Onley listen to the launch key. Ah, in control Channel five. If I wanted to, I could do that, but I don't. I'm just decided to all like anything midi that's plugged in. Like now I'm using my push. This is another device called unable to push. Um, that's fine. And now I'm using my keyboard, you know, like, why not have it set to also, I almost always have it set toe all, um, and I think that's the default. So if you don't change, it's just all that means anything that Smitty that's plugged into your computer is going to control this thing. What it also means is that you can only record one MIDI device at a time. Because if they're all set to all, you can only do one at a time. But that's fine for me. So let's add a little baseline. Kelly. Um 01 last thing on that. What instrument you here is dependent on what selected. So I'm hearing based. Now, if I want to hear this since track, I'm gonna click on that. Ah, now I'm hearing the synth track. Guess so, um, or I could hear a drum track. There it is. So you got to select which one you want to hear. Great. So set up relatively easy. Just visit this instruments tab and make sure that ah, your input is set to all for your midi device and that you've got ah and expand two on their expand exclamation point to on the track and some kind of patch queued up in it. Um, or you've designed some cool sound in that expand, too. Okay, let's record somebody 27. Recording MIDI: Okay, I'm gonna start with my bass track here, and I'm going to hit record and just try to play in a little baseline and see how it goes. So here we go. Uh oh. Before I do that, I have to arm this to record way. See the audio monitoring now, we could hear it before, but now we could weaken. See that it's gonna record. So let's hit the record button and then play. Okay? So here ah, is what I recorded. Now you might be thinking Is there such a thing as elastic audio for MIDI? And the answer is yes. It's actually much simpler than elastic audio because these Midi notes are much, much easier to deal with. So I'm just gonna double click on them with the grabber tool, and that's gonna pull open our MIDI editor. Now, with these, we can grab any note and move it. Ah, we can also shorten it or lengthen it or do whatever we want here. Um um who you can double click on it to get rid of it of the other tool to tighten it up. Let's move it this way. Get these right on the beat. Oh. Ah, Pull that back. Let's pull that back. Uh, that right there. Okay, let's hear what we've got. Great. So I'm having a little bit of tuning issues. I didn't tune my guitar very well. So I've had to adjust the ah based synth to be in tune with the guitar More or less, which is an exact science. Eso It's a little out of tune, but I'm just gonna deal with it. It's not bad. Um, okay, So I'm gonna get rid of this extra bar just by highlighting it and deleting it. And then in the world of the grabber, copy and paste. Okay, so let's just put that into our arrangement. And then let's maybe leave this going over this little break. I don't know. We'll play around with that later, and then we'll finish off the arrangement. There we go. So now our baseline is done. Let's see what we can do with this synth. Shall we, um, turned that off? Oh, Okay. So let's see, I'm trying to remember what I played on the guitar with. Try adding that in, and I don't want to add this in everywhere. If I do that over and over and over. It's gonna be super boring. Um, And before I do that, I'm going to go into my expand for this and adjust the tuning to match my guitar. That's pretty good. So I just d tuned this a little bit so that it matched the guitar. It's much easier to detain a midi instrument than it is to retune. Ah, an audio file. So now, though, should match. Um, I'm gonna play this in May be the second time only, and then we'll paste it in wherever we want it to be. So that's arm this to record record and okay, great. So I don't need all this that I record it. Let's get rid of that. There are the many notes I can clean this up if I want, and in fact, I'm going to just get rid of these two little overhang things. Enmity that can sometimes lead to some problems. So let's just trim those back. Just a hair. That's fine. They don't need to be perfect. Um, okay. And then let's get rid of this last little bar here, and then let's copy that and let's maybe have it come in every other. And I wanted to happen over this break. So let's do that. And then we'll put it in there. And the last one. I'm just kind of being random here, as you can tell. Okay, Uh, next up is drums. So with drums, I want to talk about ah, if we don't have a MIDI keyboard and we just want to play something in. So let's go to a new video and talk about ah, in putting using just the piano roll editor or the MIDI editor. 28. Creating Drum Tracks: Okay, so let's make another drum track. We already have this drum track, but let's make one using these drum sounds without using a midi keyboard toe. Enter them. So here's I'm going to do first. I want to make just, like, a blank slate here, so I'm gonna hit record armed. This to record this drum track play. I'm not gonna play. Okay, Cool. There's two bars are three bars. Let's cut that down to two bars. Okay, Now, let's go into our piano roll editor. Here's all our sounds. Okay? So I can go through here. I click on each note of the piano and hear what sound it is. So let's find a kick. Okay, there's a cool kick. Okay, so now I'm going to double click to make a kick. So let's put one there and let's put another one there. Okay? So now I have two kicks on the down beads. Maybe put one their this particular patch is doing that repeating thing that all patches do that. I hope that doesn't mean it's going to keep going over and over. But let's find out. So it's solo. This one, So s means solo means play only that track. Okay, that is not what we want. It's getting it's It's a machine gun. So this track is repeating these notes like ad nauseum. So let's zoom in. Okay. And then let's just shorten these so that it only plays one have all selected. It's also onto the downbeat right to the grid off. Okay, now they're shorter. So I'm only hearing one, okay? And let's just do like a really clean two and four here, so I need to stay. Nothing there. Let's try that. It's kind of a Tim Bali kind of sound. And let's put that here and again. I'm gonna make it nice and short. Oops. Okay. And let's put another one here. That the right note? Nope. There it is. Okay. There's another one gonna make it nice and short. I could do some copying and pasting here if I really wanted to, but this works too. Okay, so now I've got one bar. Let's do another bar here. So right there is where I want it. Make that nice and short. Move it right on the beat. And one more right there. Nice and short. Move it on the beat. Okay, So now in doing that, I because I pasted this one to be long it generated by third bar again sums going to go back and read. Delete that. Okay, We still got this soloed, so let's just hear that. Okay, Let's hear what that sounds like with my other drums so I can solo multiple things at once . So now I'm gonna hear Onley, this drum and this drum at same time. Okay, It's kind of cool. It's gonna get a little muddy, but you know where this might be Cool is in that break, right? So I'm just gonna move this over where the drums go out. Let's put this in. Let's copy it and paste it. So now these drums leave those come in much, much more simple drumbeat and these come back. Okay, so but that's how you can add it. Using just the piano roll editor. It's a little more tedious and pro tools, but you can easily do it. And we could do that for our our base, our synth, anything, um, weaken manually, edit these notes and just create them. So there's no point. Um, so don't think of that just as like a tool to make drums. It's easy for drums, but you can do it with any instrument. Okay, so let's hear. We've got so far in our whole arrangement, let's go back to the beginning. Um, let's hide our MIDI editor to use this little button right here that zoom out. Here's our arrangement. So far, let's go to the beginning. And here we've got way, - way . You know what? Um, I just had a thought. Let's do I'm gonna take this out here because it's just getting a little tiring, so we'll just give it a little break right there and pull that back in. One more thing we could do that would kind of jazz this up. Let's watch this. It's going to right here. I'm gonna pull my drum back. I gotta turn the grid off and let's do Maybe that Yeah, let's just do that. So remember this. I didn't stretch anything out there. I just pulled mawr of this loop back in because I remember that at the end of this loop there's a little drum fill and it goes back in, right. So by doing what I just did is now we're going to get that drum fill as a re entrance. Right? So where it's going to come in to reintroduce that drone? It'll sound pretty cool. Check it out. Given to a shorter I thought maybe that whole bar would be nice, but it just kind of turned muddy on me. So let's do that way. All right, so arrangements coming along pretty good. Not the most brilliant thing I have ever written, I have to say, but, um, not too shabby for just showing you how everything works. Okay, let's go to another section, actually. So in the next section, we're going to talk about mixing, so let's see what we can do to make this sound a little bit better. 29. Volume Controls: Okay, so let's talk about mixing. So, basically, Step one is getting all of our content put together, which we have here we have in our track. Step two is making it sound good. So Ah, let's first jump over to our mixer, which is the other window of pro tools that we haven't looked at very much yet. So if you remember Ah, the key command, we can get to it with his command equals or you can go window mix. Um, okay, so here we are. So what we see here is I'm gonna show both windows side by side. Mostly this stuff. I want to see this. So here is track one, right? I see. Ah, the info about the track levels. Instrument inserts io. And remember, there's more. I can show here. It's Most of that is totally duplicated here. So here's inserts. Inserts sends. I don't have shown, but I could show here in this window my i o stuff and then my levels. Now, I've got a couple more things here that I don't have, uh, in the mixed window. We're sorry in the edit window. So mostly Ah, the most obvious thing is I have these big, huge volume failures, right? So it's much more comfortable to get our hands on this. But we will look at doing volume in the edit window in just a minute. So hold on to that. Okay, this volume fader is red because this track is still armed to record. Let's turn that off. Okay, So if I play my track and see all my levels, first thing I want to do is turn that since down and you can see in my level meters if I'm getting too loud on anything. This synth is pretty loud. It's not distorted, it's fine. And remember that what we're looking at here in the level meter, is what's called pre fader level, meaning that regardless of how I moved this level is the level coming in regardless of the fader. And that's useful because that shows us the signal that's coming in. You know, we want to keep track of that signal. Um, you can switch it to show you post fader by going upto options here, an unsolicited ing pre fader metering. Now we're looking at what we're actually hearing. Both of those are useful, um, for different reasons. I'm gonna leave it on post fader metering, which is what we're on now. It's the opposite of pre fader metering s so that we can see what our signals doing while we're mixing. Let's get our drums way. I still hate the way this is tuned, but I'm gonna deal with it. Um, so that's the main part of our mixer. Now we have a couple other things we can do in our mixer other than just control the volume . So let's look at our panning controls next. 30. Panning Controls: Okay. I think we mentioned Ah, panning earlier when we're talking about some of the initial set up, but are panning controls are right here. These could be important in our mix. So let's look at let's look at the panning controls just for our drums for now. So I'm gonna solo this track right here, and I'm actually going to go back to the beginning of my track so I can hear it. Let's get my mixed window back. Oops. These are my Elektronik through the base. So I want to do one of the many instruments here, so I have to panning knobs here under panned left and right. That's because this is a stereo track, CBC, two way form or two levels here versus here is a mono track. So that means the left signal I'm sending left and the right signal I'm sending. Right. I don't have to do that in both right. Sending both left. I could center both of them, Um or and more commonly, you'd want them left and right. But maybe I don't want him so left and right. Do that just to kind of make the mix seem bigger. What? We want to do here in a mixes is really kind of fill the space. Imagine you're looking at a stage, you know, when we want our field division. Teoh encapsulate all that sounds. So another way to put that that's maybe a little less material is that we want our music to be in three D kind of. So we wanted to feel like it's all it's in front of us. It's not behind us, but it includes our entire field division. So if the bass player is on the left of the stage, maybe we want to put them on the left. We could do that if we wanted to, and we would do that like that, Um, but in this kind of rock song, we typically want the base to be kind of more like that. Okay, so our synth I'm gonna leave the sense where it is. The electronic drums, Let's put it, our electronic drums a little more centered. That's leaving a little kind of wide. And then we have. Here's Our drum loop will leave that the same. But our guitar track nor guitar track only has one because it's a mono track. So if we listen to our guitar track, Let's solo it. It's either left or right. It could be anywhere in between. But there's no secondary panning amount. So this is we just put it right where we want it. The odds are I want this in the center. But maybe I wanted leaning a little. One way or another, I would caution you to avoid hard panning, which means doing this or this. Typically, we don't like hard panic. So somewhere off to the side of center can be nice. If that's what you want or there's no harm and leading something right, dead center or you can move it around during the mix. You can have this kind of going crazy. Ah, and we'll talk about how to do that in just a second. But first I want to talk about E que controls so that we can clean up our guitar sound and make it sound a little bit better. So let's look at an e que 31. EQ Controls: Okay. Lets had an e que to this guitar. Now what an e que is is It's a type of filter, and I'm not ah, in this class gun and go into huge amounts of sound design stuff. Um, I have other classes on that, if you like, but, um, we will go over into what the e que does e que short equalizer. Ah, you have one on any kind of stereo, your car stereo anywhere where you see, like, different knobs for the trouble in the base. That's a kind of e que equaliser. So I'm gonna go to inserts here and plug in e que And let's add one of these seven banned accuse. Perfect. So this is the graphic we want to see. So what I'm doing what I'm seeing in this graphic is from top to bottom is volume. So this is loud stuff. This is quiet stuff. This is unaffected. So if we move this line up, we're making this stuff louder and we're not affecting this stuff. If I move it down, we're making this stuff quieter. Right on. The line is unaffected. So it's all relative volume left to right is frequency This is low stuff. This is high stuff. Okay? So if I want my high stuff to be louder, I'm gonna do that means all the high frequencies are gonna get boosted. This means all the low frequencies are gonna get boosted. Stuff in the middle is largely unaffected. A little bit right there. So with this tool, we can really sculpt our sound quite a bit. Let's hear our guitar and let's make it a little bit brighter. Pulling up there less muddy, pulling away so low stuff. Okay, that's fairly dramatic. E que. But I think that's OK, because by pulling out all this low stuff, I make the guitar sound a little bit tinny. Ah, little bit like it's made of metal rather than it being made of wood. But, um, remember that in the whole mix, I have that bass down low, so that's going to fill out some of this. So I think my, um when everything's in context in this track, it's going to sound pretty good. Let's hear it. Okay, so that guitar has, ah little bit more of a background texture now, um, and I think I like it there, but I could probably do more with it. Let's explore some of these other plug ins and see if I can make this guitar sound a little bit more interesting yet. 32. Other Effects: All right, let's go to the inserts. Now we can have as many inserts is we want. Once we add four more Windows will pop up down here as long as that's not a limitation in pro tools. First, let's see if we have any amp modeling stuff in here. I don't think we do. Okay, we don't have any and modelers in here that would make it sound like it's running through an AMP. Which would be better. Um, we don't have that here. Let's Maybe we could give it a little bit of reverb. Okay, let's let's solo this. Okay. River makes it feel like it's in a big space like a cave. You can turn that down a little bit. Okay, let's leave that on there. Let's just get kind of weird with it. We could add some delay to it. Sure, so we're a little limited in what we have here to play with in our eat. These are the only effects effects we have access to in pro tools. First, it looks like way have the option to buy more by going to this avid marketplace and click on it and see what happens. I've gone to this yet. Nice, big white window. That's cool. Well, I'm not gonna waste our time there. Oh, maybe it's just popping up. There we go, and it goes away. All right, Well, you can try. Go in there and see if that works for you. And you can buy more stuff if you want. Um, but let's hear all of these goofy effects I have put on here in context. All right, So this mix is starting to come together. It's starting to sound kind of good. Um, the next thing I want to look at is what I was talking about when we talked about panning, which is what if I want to move the panning around in the track, That is something thing that we call automation, and it's very important to the process of mixing. So it's talk about automation in the next video 33. Automation: toe automate something means to be changing it over time. So in order to do this, I need to do it on a timeline. So are mixed window isn't gonna help us very much gonna go back to the edit window. So let's try that thing of moving the panning around in the guitar part. So what I'm gonna do is I'm gonna get a look at my guitar part here. Gonna go over here where it says wave form. This is what are we seeing? Let's go to panning. Now I get this big black line right through the middle, right? Check it out. Click to make a dot make another dot and then draw a line. This is automation. So this is going to start moving my panting like crazy. Let's do something like really dramatic. Do some couple hard panning, fast, hard panning thing. If you get if you are prone to seasickness, then this is not what you want to do. But I'm gonna play it for you anyway. So we should see. Here are guitar moving around to follow this line. Going from left to right. Okay. That's automation can automate pretty much anything. Here's our volume. Let's say maybe I want my volume to be low here, but then come up a bit for this ending section. We could do that. Um, and I could do it on ah, many clips, too. I can I can automate the volume and things like that. I can also automate any of the effects we've put onto it. So, like, here is our reverb. Let's go to the wet, dry mix of our reverb that will basically be How much of the reverb are we getting? And let's do something like this. Okay, so what's gonna happen here is we're not gonna hear any reverb on the guitar right here. We're going to start to hear more and more and more and more and more reverb. And then we're gonna hear ah, lot of reverb throughout it. So we've just automated the river, so the reverb comes on. I still have these weird panning things in here, too. But, um, you get the point. So if we want to go back and look at our volume, you can do that there, and I can fix it to go back. How? I wanted it to wait here. That river washed down river. Cool, right, so you can automate any effect that you've already put on the track. So if I go here, here's the effects I put on. And here all the components of them. Lots of options start coming up. When you put in effects, there are a lot of things you can automate. Cool. So automation is a big part of mixing. If you look at a professional mix, you'll see that they've got automation lines going all over the place. It's always exactly and weird, and those are that's all automation. 34. The Final Mix: Okay, let's take one more look at our mix that we have going now. So we've adjusted our volume. We've done a little bit with panning. We've done some effects to try to liven up this guitar a little bit. Um, I think we're pretty happy with it. Up next. What we're gonna do is ah, section on finalizing your track. So we're gonna bounce it down Ah, and send it out to the world. Um, let's take one last listen before we get to that what you always want to do, make sure that you're ready because once you start to bounce it, ah, you're kind of putting the finishing touches on it. And you don't want to do that until you're happy with everything. So let's take one more, listen through, and then we'll go on to our finalization steps. 35. Export Types: Okay, so we're happy with our track, More or less. Let's move on, Teoh, How to export this Now The reason we have to export it is that if we send this pro tool session to somebody, they can't play it unless they have pro tools and all our files. So ah, and we can't even do that, apparently, in pro tools. First, we can't send the session cause it's all stored on the cloud and we have to adhere to those rules. So we have to get it down to an individual track. Here's what we can do. We're going to go to file export. Now. We have four options here, only two of which I concurrently do. Audio mix is what we want will come back to that one selected clips as file. So that would be if I select a bunch of clips, select some stuff like that. Now I go to export Aiken. Do selected clips as files. What that's going to do is export each of these clips as their own file. Now, this could be your big work around to the the way that pro Tools first only lets you have three tracks open at once. Let's actually try that. So I'm gonna do select all and then export selected clips as files. So what that means is that I'm gonna get a file for each clip. They're one or more warped clip. Selected war clips will be exported unwarranted at their original iteration. Okay, so that's what how they have it set up. So you can't do this. What I was thinking is that we could export all of these and then we'd have them all is audio files. We can put him back together in another session either another pro tool session or a different audio program if we wanted to get around the only allowing three different ah sessions at a time. But, um, there they were smart. They're not gonna let us do that. Anyway, we can export Midi so we can export all our midi tracks. The reason you would want to do that is let's say you want to make sheet music for this baseline. You could export this as Midi. You could open it in a notation program and then you could make sheet music for it. In fact, that gets us to our last thing, which is a Sebelius file. Ah, Sebelius Sebelius is a sheet music editing program so that will let us go directly into a very specific at ah notation notation editing program. Whereas midi will let us go to just about any notation editing program or do other stuff with it, There's other reasons you might want to export it as midi Um, but we want audio mix, so we're gonna go to audio mix and we're gonna go through each of these settings, So let's go to a new video and we'll walk through our settings. 36. Bounce Settings: Okay, let's go through each of these and make sure we have these set up right? Mixed down source built in output. That is correct. What this is saying is everything that's coming out of those speakers are built in output is what we're going to be bouncing. That's what we want. In fact, that's our only option here. Um, you could have a more complicated session where you have multiple outputs, and then you'd want to select what you want to actually go into the track. Ah, in this case, built in output is correct. File type wave is good. F is also good. Um, it used to be a thing where wave files were more better. I guess for on PCs and a F F files were better on Max. That's not really true anymore. Both of these are full quality audio, un compressed audio, so they're gonna be big files, but they're going to be full quality audio files. So let's leave it his wave. That seems to be a bit more preferred these days. Um, I don't know why they're both perfectly fine. They sound the same format. Inter leaved multiple mano or mano summed. Leave this as inter leaved. What this means is multiple mono is going to output two audio tracks, a left track and a right track. It's kind of annoying to deal with, um so don't do that, Mano summed is gonna output one track with everything as a mono file. So it's gonna get rid of all of your panning. Um, so you don't want to do that, either. Inter leave is gonna be one stereo file like you would expect to play on a CD or something like that. So that's what you probably want. Um, there are reasons when you might want to do these other two. But there not typical for what we're doing today. One would be like multiple mono might be if you are sending it to a mastering engineer. Some mastering engineers might prefer multiple mono files rather than an inter leaved file . I could see that happening. Okay, a bit depth, 32 bit floats. Probably the best way to go. Um, you can change these 16 bit is what you need if you're gonna burn this on a CD, but who does that anymore? So who cares? Let's leave it as 32 bit float sampling rate, I would say Leave this at 44 1 or 48 you could do. Also, You don't really need to go higher than 48. Um, leaving it at 44 1 is nice. I would say to do that import exported file. That's kind of ah, head scratcher of the way. There's, like, a negative in this sentence. But anyway, what this means is when it's all done exporting it, it's going to make a new track and import that file, which we could do. But, um, I don't care. I'm not gonna do that. Sometimes that's fun to do. And then last the easy stuff. What's this called? Pro Tools. First track. How about that? I could rename it here if I want. Ah, you might say, like mix one or something like that directory. This is where it's gonna put it. Um, I'm gonna choose. I'm just gonna throw it right on my desktop and export. Now, this offline mode thing is a little bit different. We're gonna come back and talk about that in the next video. So let's just hit export. And now it has to play. Okay, so one thing we forgot to do here is set our export region. So we need to open this little blue bracket up to be the whole track. And actually, let's leave some space at the end because we've got this reverb here that we want to kind of hear tail out. So we're going to select all of this area and then we're going to go to export settings. Sorry I didn't do that first. I totally forgot about that stuff. Everything should be the same now. It has to play through the whole track before it just played through that one little bit that I have. 37. Offline Bouncing: Okay, now I've exported my file, and here it is. So now it's in a single audiophile, and that's great. I can do all kinds of stuff with it, a few things that we'll talk about in the next video, but I want to talk about this offline editing. This is kind of a thing are not offline editing, but offline bounce. This is the thing that Pro Tools does online balance is where and what that means is that it has to play through that entire file like we just saw offline editing is what most Dawes do. So if I go here again and I say offline and I say export, it's just gonna bounce it it says, bouncing. And now it's done like that. Was it, um so online editing where it plays through Everything is something that Pro Tools has always done, and they've but no other programs do that. So they added this offline mode, and what it does is just kind of zips through everything and calculates what it needs to calculate and saves your file. Um, so if you're in a hurry, do offline editing. I are offline. Balance. I always do offline bouncing, The quality is the same. I don't know why anyone would not do offline belt. Um, the reason we call it bouncing, by the way, is pro tools. Historically has had a button over here called File Bounce instead of export, it said, Bounce. So we bounce something to disk. They've recently changed to export, um, in different audio programs. You'll see it as called export. You might see it still called bounce. You might see it called Render um, they all do the same thing. They take your entire session and get it down to a single audio track or a single audiophile, I should say so. I would recommend do the offline bounce. It takes a fraction of the time, and the quality is the same. 38. Mp3 Conversion: So now that you have your audio track bounced down, you can start to send it out to the world. Right. Um, there might be one more thing you might need to do. You can upload this track to Soundcloud. That's popular thing to do. Um, you can share it with friends. You can do whatever you want to do with it, but it's still a pretty big file. Like, Let's look at it. This file is, um, 28 megs. That's a pretty big file. You can't email a 28 meg file. So what you might want to do is get it down to an MP three and MP three is far less superior quality. It's not very good quality. Um, so you don't want to call your final mix in MP three. This is our final file. You hold on to this. We call this the master file, but in terms of sharing it and uploading it, you might have to get it down to an MP three, which is fine. And MP three doesn't sound bad. It sounds fine. Just not as good as the way file. So there's a couple different ways you can quickly get a track down to an MP three. I like to use this little program. This is called MP three Convert Utility. Ah, you just drag your file onto there. You click a little button, and now it's an MP three. Um, here it is. And you know, it sounds pretty good. So now what you could do is this file is now only 3.2 megs versus this one, which was 28.3 megs. So that's a huge reduction. And that alone can show you the difference in quality between wave and MP three. Like, where did those 20 some Meg's go? They got thrown out in this file. So there's a lot missing in this file that this file has. It's largely stuff you can't hear, but some of it is. But the important thing is that now you can upload this. You can email it, you can share it with your friends. You can do it everyone. So getting it down to an MP three is an important step. I like to use this little program because it's quick and easy. You can also do it in iTunes will convert stuff to an MP three for you. Um, there are a 1,000,000 other free little converter utilities out there. Um, that'll do it. But pro tools first will not just export as an MP three, you have to convert it after the fact. So that's what you'll need to do in order to start sharing it around the interwebs cool. 39. SkillshareFinalLectureV2: Hey, everyone want to learn more about what I'm up to? You can sign up for my email list here, and if you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me and one of those two places or both, and we'll see you there.